“Mouth open, mid-chorus, I look to my right. My three roommates are dancing wildly, necks lurching, knees bouncing. A foot of space between us lets our collective octopus of arms shake freely with our drinks, as if it’s just the four of us in our living room with a bluetooth speaker…”

Read more at www.MeltedMagazine.com.

“The terrain of ambiguity is exactly what all subtitles and captions are expected to illuminate—but in realising that what we ‘hear’ has been defined by an editor, an implicit murkiness is also revealed…”

Read more in Another Gaze; buy issue 04 here.

“Her dialogue is mainly with herself—a blessing and a curse that elevates her brand of weird kid (the kind who really tries) to heroic levels of bravery in the suffocating and strange space of middle school…”

Read more at www.RogerEbert.com.

“I’m a sucker for stories of disaffected youth. Characters who feel out of place, alone and disconnected for inexplicable reasons are close to my heart, which is why products of the late sixties and early seventies feel perpetually true to me…“

Read more at www.RogerEbert.com.

“Her face effortlessly shifts from playful instants of childish joy in games and goofing around to sudden distrust in everything around her; in her signature move, Vitti transforms her expression from delighted to disturbed in less than a heartbeat, almost comically quickly…”

Read more at www.RogerEbert.com.

“While all three documentaries explore equally difficult subject matter, there is none of the thrill, pride, or love behind scenes of united resistance as there is in the fabric of Whose Streets? nor is there even the intention of making changes for the better that drives the story behind The Force...”

Read more at www.RogerEbert.com.

“After the documentary’s premiere, I had the chance to talk more with director Jonathan Olshefski and producer Sabrina Schmidt Gordon about how the film came to be, the significance of the Rainey women, and the complication and care of the race relations behind the film production…”

Read more at www.RogerEbert.com.

“The heavy history and colors of Iraq—which are, indeed, perhaps heavier and more colorful than those of any other modern nation—are revealed in the small and ordinary details of Diana’s world…”

Read more at www.FilmInquiry.com.

“ It’s a wonderful thing, to see women and girls in film playing with and up against each other in ways that are neither annoying to us nor antagonistic to each other, neither silly nor self-serious – they just are…”

Read more at www.FilmInquiry.com.

“Our access to the child’s perspective is extended with the imaginary bubble Luca draws around her father—though, of course, because we see it through Luca’s eyes, the bubble and its protective powers feel far from imagined…”

Read more at www.FilmInquiry.com.

“Put Daffi’s over-the-top melodrama and Zohar’s petulant apathy side-by-side with Irena and the girl who haunts her, and you have a perfectly hilarious yet somehow sensitive portrait of a world full of perceived absurdity and reality, the admission that it’s different for everyone, and that it can be difficult to distinguish between the two (if possible at all)…”

Read more at www.FilmInquiry.com.